SCULPTURE .—Florence, 1489-1494.-"
See also:Head of a Faun," marble; lost . Condivi describes Michelangelo's first
See also:essay in sculpture as a head of an aged faun with a front tooth knocked out, this latter poini having been an afterthought suggested by Lorenzo dei Medici . The .lead is sometimes identified with one in the
See also:National Museum at Florence, which however bears no marks of Michelangelo's early
See also:style and is in all probability
See also:spurious.—" Madonna seated on a Step,"
See also:bronze; Casa Buonarroti, Florence . This bas-
See also:relief, executed in imitation of the technical style of Donatello, is a genuine example of Michelangelo's early
See also:work in the Medicean school under Bertoldo.—" Centauromachia," marble; Casa Buonarroti . A
See also:fine and genuine work in full relief, of probably somewhat later date than the last-mentioned . The subject occurs often in
See also:ancient sarcophagus reliefs: Michelangelo has followed the
See also:antique in his conception and treatment of the nude, but the arrangement of the subject is his own . Bologna, 1494-1495.—Statuettes of " St
See also:Petronius," " St Proculus," and a " Kneeling
See also:Angel," marble;
See also:part of the decorations of the
See also:shrine of St
See also:Dominic in the
See also:church of that
See also:saint at Bologna: the style of all three much influenced by the work of Jacopo della Quercia in the same church; the attitude of the kneeling angel with the candelabrum imitated from an ancient bas-relief . Florence, 1495-1496.—" St
See also:John in the
See also:Wilderness," executed for Lorenzo di Pierfrancesco dei Medici, marble; probably lost . Declared in 1874 to have been found again in the possession of Count Gualandi-Rossalmini at Pisa . Vehement and prolonged discussion arose as to the authenticity of this newly-found S . Giovannino, and at last it was bought for the Berlin Museum, where its genuineness is still stoutly maintained . But the finicking and affected elegance of the conception denote a different temperament from Michelangelo's and probably a later date .
With this figure must be given up also the restoration of an antique
See also:group of " Bacchus and Ampelus " at the Uffizi, which is clearly by the same
See also:hand and is claimed also as an early work of Michelangelo.—" Recumbent
See also:Cupid," bought by the
See also:San Giorgio as an antique, marble; lost . The attempts to recognize it in certain extant copies or servile imitations of the antique, especially one now at
See also:Turin, must be held mistaken . Rome, 1495-1501.—" Virgin lamenting the dead Christ," commissioned by the
See also:abbot de la Grolaie; marble, St
See also:Peter's, Rome.—" Bacchus and
See also:young Faun," commissioned by Jacopo Galli; marble, National Museum, Florence . (Of these two masterpieces of Michelangelo's youth enough has been said above).—" Cupid," commissioned by the abbot de la Grolaie; marble; lost; has been commonly identified as the " Kneeling Cupid " of the
See also:Victoria and
See also:Albert Museum, but this, if by Michelangelo at all, which is not quite certain, must in all likelihood belong to a later
See also:time . Florence, 1501-1506.—" Five
See also:Saints, in niches decorating the shrine of
See also:Pius II.," commissioned by the Piccolomini
See also:family; marble;
See also:cathedral of
See also:Siena . The contract for the sculptured decoration of this shrine was one of those which the pressure of other work pre-vented the artist from ever taking seriously in hand . Of the five saints in niches, traditionally reputed to be his work, the St Peter alone shows any clear marks of his style; the other four were probably designed, and certainly carried out, by weaker hands.—"
See also:David " (the " Gigante "), commissioned for the city of Florence by
See also:Soderini; marble; Florence Academy . Besides what has been said above, it has only to be added that a
See also:model in the Casa Buonarroti, showing nearly the same design with a different
See also:movement of the legs, is probably Michelangelo's
See also:sketch for the subject . " David," commissioned by
See also:Pierre Rohan: bronze, lost; a
See also:clay model in the National Museum, Florence, may probably be a sketch for it; more than one bronze has been brought forward with claims to be the original, but. none has stood the test of
See also:criticism . " Virgin and
See also:Child," commissioned for Taddeo Taddei; circular relief, unfinished, marble;
See also:London, Royal Academy . The
See also:motive of the Christ-child frightened by the flutterings of the
See also:bird held out by St John is the most playful in all Michelangelo's work; the whole design shows the influence of Leonardo in his gentler, as much as the
See also:cartoon of the " Bathers " shows it in his more violent, moods." Virgin and Child with St John," commissioned by Bartolommeo Pitti; nearly circular relief, unfinished, marble; Florence, National Museum: a more tranquil and very charming presentment . " Madonna and Child," sold to the Mouscron family of Bruges (known in Italy as Moscheroni), and by them presented to the church of Notre
See also:Dame in that city; group in the
See also:round, marble; church of Notre Dame, Bruges .
A meditative seated Virgin with upright head, the naked child seated between her knees, his smoothly rounded
See also:form in strong contrast with her complicated draperies . " St
See also:Matthew ": one of a set of twelve statues of Apostles commissioned by the consuls of the Arte della Lana for the cathedral at Florence; marble; National Museum, Florence . Unfinished (only roughly blocked out), the other figures of the set never having been so much as begun; the contract was signed in 1503 and cancelled in 15o5 . There is an early
See also:drawing by
See also:Raphael from this statue .
SCULPTURE (Lat. sculptura, from sculpere, to carve,...
There are no comments yet for this article.
Do not copy, download, transfer, or otherwise replicate the site content in whole or in part.
Links to articles and home page are encouraged.